Archive • November 2010

The New York Times, via the San Francisco Bay Guardian, has this feature article today about renowned archivist Rick Prelinger’s annual showcase of films and other memorabilia of old San Francisco. The Library of Congress acquired most of Prelinger’s archive a celebrated collection of “ephemeral film” — industrial, educational, amateur and other film and video

Curation Practices for the Digital Object Lifecycle May 15-20, 2011 & January 4-6, 2012 University of North Carolina at Chapel Hill The Institute consists of one five-day session in May 2011 and a two-day follow-up session and a day-long symposium in January 2012. Each day of the summer session will include lectures, discussion and hands-on

Posted to our site today: Framing German Wartime Suffering, a package about a controversial subject. There’s a feature article about recent studies of the experiences of German civilians during and after World War II, and an interview with Marc Silberman, the editor of a new collection of essays about films that relate to that subject.

The more comfortable you are with the notion of retributive justice – and with its gory manifestations – the less bothered are you likely to be with what happened to German citizens in the closing phases of the Second World War. Some cultural and film commentators are revisiting those events, the way they continued to haunt individual and collective German memories, and how those traumas have found expression (often of an appallingly unreflective kind) in feature films.

Marc Silberman, co-editor with Paul Cooke of Screening War: Perspectives on German Suffering (Camden House), talks about films on German wartime suffering and forgetting, and the archiving and availability of films on that subject. Thinking about German suffering was common just after the war, was it? Yes. Paul Cooke and I make clear in our

The New York Times reports today (November 12, 2010) the rediscovery in Tangiers of You Are Not I, Sara Driver’s 1980 film version of the Paul Bowles short story of the same title. The print, reports the Times’s Randy Kennedy, is of a film Driver based on a 1948 Bowles story about a young woman

Saturday, November 6, 2010– The Philadelphia Enquirer‘s movie critic, Carrie Rickey, provides an entertaining and inviting overview of the annual meeting of the Association of Moving Image Archivists – held this year in Philadelphia in collaboration with the International Association of Sound and Audiovisual Archives, and now coming to a close. Rickey deftly captures some

Film preservation, moving image archiving — whatever the most all-encompassing term du jour is — sometimes makes its way into wider public awareness. Martin Scorsese talked up The Film Foundation, which he created, at the most recent Oscar ceremony. (Not Oscar categories, yet: Best Rediscovery of a Forgotten Film and Best Critical Research on a

OK, this is not a review, but a strong suggestion that you check out the second installment of AMIA Tech Review, an Association of Moving Image Archivists (AMIA) free online publication. Here is some of what’s covered: Tommy, The Who’s rock opera from 1975, was the predecessor to “modern multi-channel stereoscopic experience” and was the